Organizers expect between 30,000 and 40,000 people to fill the seats during the two weeks the competition is in town.

“People are staying in hotels, they’re eating and they’re shopping. We have dancers from all over the world. They want to go shop. They want to go look (around) and they’re spending money here,” said Debbie Simmons, the transportation chairperson for the event.

Other notable performances come from a fiery and engaging Nicolina Lawson and a lively Martin Godoy. Sanders needs a stronger menacing quality, and while McGee has a commanding stage presence, his pantomime tends to be weak.

Since the ballet itself is rather short, the company preludes it with a mixed repertoire featuring a premiere, a few repeats, and guests Collin County Ballet Theatre and Danielle Georgiou Dance Group.

Former New York City Ballet dancer Jamie Wolf talks about taking ballet class during pregnancy.

Ms. Wolf retired in 2006 to focus on her jewelry line. She stepped back into the studio three years later when choreographer and former City Ballet dancer Benjamin Millepied approached her to audition for a dancer role in the 2010 film "Black Swan." To get back in shape, she began taking ballet classes with master teacher Wilhelm Burmann and continued to do so after working on the film.

"I have many Russian friends in the ballet world and when I thought about putting on the 'Giselle' production, I specifically imagined Veronika Part," Svetlana Kravtsova said at a recent rehearsal at her Ellicott City Studio. "I have seen Veronika in 'Swan Lake' and thought her to be a very lyrical, beautiful ballerina. …I have decided that the role of Giselle would be very fitting for her."

Act II’s wedding divertissement presents a gallant display of classical choreography. The corps de ballet demonstrated crisp, precise technique, sailing through double pirouettes and courtly formations with aplomb, and looked as if they were enjoying themselves immensely. The divertissement was led by the charming Lauren Fadeley and the princely Zachary Hench. Fadeley, who began her career at the New York City Ballet, embodies the Balanchine style. Her extroverted approach at times came across too strong in the ensemble pieces, but she reined her energy inward for the tender, pensive pas de deux that is the focal point of this Act. Hench is an attentive partner of world-class abilities, and the two of them danced the intimate pas de deux as a flowing and intricate interplay, he displaying an elegant ballon, and she making tasteful use of her exquisite lines.

Creating a contemporary reimagining of a classic fairytale is a difficult thing to do. With his “Cinderella”, created in 2004, James Kudelka has hit many high notes that offset most of its shortcomings. There are some awkward moments and missed opportunities, but there is also a lot of imagination, wit, and charm. This “Cinderella” preserves the magical and enchanted elements that drive the story, while updating it to appeal to modern day sensibilities. For the choreographer who created such ominous ballets as “Cruel World”, “The Contract”, and a very disturbing rendering of “Swan Lake”, it is surprising that he did not draw on the dark underpinning of Prokofiev’s score more.

Mónica Gómez, Ignacio Galíndez and Raisel Cruz arrived in Miami Saturday, and Jorge Oscar Sánchez, Ariel Soto and Liset Santander were expected to arrive late Monday night. It’s possible two other dancers also stayed in Puerto Rico and did not return to Cuba with the company, but their names haven’t been confirmed.

Veronika Part, who danced The Fairy Godmother, will never be Ashtonian. Her Russian roots and her instrument — long, pliable everything —preclude it. And yet her work in Ashton is often splendid–in Sylvia she made the small role of Terpsichore a work of couture, unforgettably piquant. Here, the lush lambency and ballon she brought to her Act One solo, coupled with the soundless coloratura of her pointe work, suggested benevolence in a bubble, a magical suspension of time.